{
"data": {
"id": 153634,
"accession_number": "1987.16",
"share_license_status": "CC0",
"tombstone": "Elizabeth Rigby, later Lady Eastlake (1809-1893), c. 1844\u20131845. David Octavius Hill (British, 1802\u20131870), and Robert Adamson (British, 1821\u20131848). Salted paper print from calotype negative; image: 21.5 x 15.6 cm (8 7/16 x 6 1/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1987.16",
"current_location": null,
"title": "Elizabeth Rigby, later Lady Eastlake (1809-1893)",
"creation_date": "c. 1844\u20131845",
"creation_date_earliest": 1844,
"creation_date_latest": 1845,
"artists_tags": [
"male"
],
"culture": [
"England, 19th century"
],
"technique": "salted paper print from calotype negative",
"support_materials": [],
"department": "Photography",
"collection": "PH - British 19th Century",
"type": "Photograph",
"measurements": "Image: 21.5 x 15.6 cm (8 7/16 x 6 1/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)",
"dimensions": {
"image": {
"height": 0.215,
"width": 0.156
},
"matted": {
"height": 0.457,
"width": 0.356
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Written in pencil on recto: \"H/1163\"; \"Lady Eastlake\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 310231,
"title": "The Year in Review for 1987",
"description": "The Year in Review for 1987. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).",
"opening_date": "1988-02-24T05:00:00"
},
{
"id": 311875,
"title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art",
"description": "Legacy of Light: Master Photographs from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).",
"opening_date": "1996-11-24T05:00:00"
},
{
"id": 286506,
"title": "Cheating Death: Portrait Photography\u2019s First Half Century",
"description": "Cheating Death: Portrait Photography\u2019s First Half Century. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 22, 2016-February 5, 2017).",
"opening_date": "2016-10-22T04:00:00"
}
],
"legacy": [
{
"description": "CMA, July 10 - August 19, 1990: \"The Camera,\" Classroom Level, no exhibition catalogue.",
"opening_date": "1990-07-10T00:00:00"
}
]
},
"provenance": [
{
"description": "David Octavius Hill",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
},
{
"description": "Royal Scottish Academy, Edinburgh",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
},
{
"description": "David Octavius Hill; Royal Scottish Academy, Edinburgh",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"description": "Among the earliest photographers to explore both the artistic and societal possibilities of the portrait were the painter David Octavius Hill and engineer Robert Adamson, partners for just three years before Adamson\u2019s death. Elizabeth Rigby,seen here at age 35, went on to marry Sir Charles Eastlake and, in 1857, to write one of the first histories of photography as a fine art. James Nasmyth, an engineer who developed the steam hammer, holds a compass. Hill and Adamson often shot outdoors because bright sunlight allowed shorter exposure times. They subordinated the background in shadow and bathed the important details of the face and finery in areas of light.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79939633"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1987.16-elizabeth-rigby-late"
]
},
"citations": [
{
"citation": "Turner, Evan H. \"The Year in Review for 1987.\" The Bulletin of the Cleveland Museum of Art 75, no. 2 (1988): 30-71.",
"page_number": "p. 67, no. 62",
"url": "www.jstor.org/stable/25160017"
},
{
"citation": "Cleveland Museum of Art, and Tom E. Hinson. Catalogue of Photography. [Cleveland, OH]: The Museum, 1996.",
"page_number": "p. 14-15",
"url": null
}
],
"url": "https://clevelandart.org/art/1987.16",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1987.16/1987.16_web.jpg",
"width": "645",
"height": "893",
"filesize": "429074",
"filename": "1987.16_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1987.16/1987.16_print.jpg",
"width": "2455",
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"full": {
"url": "https://openaccess-cdn.clevelandart.org/1987.16/1987.16_full.tif",
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},
"alternate_images": [],
"creditline": "Andrew R. and Martha Holden Jennings Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 153634,
"creators": [
{
"id": 156,
"description": "David Octavius Hill (British, 1802\u20131870)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.",
"name_in_original_language": null,
"birth_year": "1802",
"death_year": "1870",
"use_in_caption": true,
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"weight": 1
},
{
"id": 159,
"description": "Robert Adamson (British, 1821\u20131848)",
"extent": null,
"qualifier": "and",
"role": "artist",
"biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.",
"name_in_original_language": null,
"birth_year": "1821",
"death_year": "1848",
"use_in_caption": true,
"include_extent": false,
"weight": 2
}
],
"legal_status": "accessioned",
"accession_date": "1987-03-16T00:00:00",
"sortable_date": 1844,
"date_added_to_oa": null,
"date_text": "c. 1844\u20131845",
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"on_loan": false,
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"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-03-26 23:59:29.254000"
}
}